[Tig] what is where (tk count)
ErmiA at vlct.co.za
Tue Jul 16 15:34:16 BST 2002
The rates in Cape Town on a Ursa gold or Diamond are as follows:
One light rushes transfer 1750 rands
Grade 2300 rands
On the Spirit Johannesburg only:
One light rushes transfer 2100 rands
Grade 4000 rands
The Video Lab Cape Town
From: Claydon Laurence [mailto:Laurence.Claydon at technicolor.com]
Sent: 16 July 2002 04:15
To: Pedro Conforti; tig at tig.alegria.com
Cc: natasha.murrell at opodo.com
Subject: RE: [Tig] what is where (tk count)
I would be very interested to know what the rates are at the South
African (Cape Town) post houses, given that the Rand has been slipping
recently against the pound; (4:1 1994; 10:1, 1999; 17:1 currently).
Anyone calculating payback for a new telecine suite based on projected
business and market share at present will appreciate the issues even
without the 17:1 exchange rate.....
Technicolor Imaging UK
> -----Original Message-----
> From: Pedro Conforti [SMTP:pedroconforti at mac.com]
> Sent: 16 July 2002 14:13
> To: tig at tig.alegria.com
> Subject: Re: [Tig] what is where (tk count)
> Here in Brasil things are going from bad to nightmare in the telecine
> (and the whole post production market) since 2000. It can be explained
> by 3
> main reasons:
> 1) the US dollar exchange rate change against Brasil's Real in the
> last 4
> years. Since it have gone from an 1-1 rate to a 3-1 basis, clients who
> to pay, say R$600 (US$600) for an hour of SD work with the best
> are now paying about R$450 (US$158) due to the Real devalue;
> 2) Since the market is really low these days, clients keep pushing
> unfairly down and down, accepting even lower quality on their jobs (by
> working with begginers), so they can get ridiculous discounts, like 50
> less / hour (about US$18).
> 3) And remember, whenever we buy new equipment, we pay in US$,
> although our
> clients pay us with Reais. You can guess how difficult it is to keep
> up a
> business so expensive like ours with such a low income.
> So now prices are more or less like this:
> R$ 450-650 - SD commercial
> R$ 300-450 - SD music videos / dailies
> R$ 900-1000 - HD commercial
> R$ 800-900 - HD music video
> in US$, this would be:
> US$ 158-230 - SD commercial
> US$ 105-158 - SD music videos / dailies
> US$ 315-351 - HD commercial
> US$ 280-315 - HD music video
> As you can see, prices are unbelievable low here these days. I hope
> something happens to change this situation, because having almost no
> at this price, cannot lead any post-production house to a bright
> Unfortunatly, this is the kind of situation that clients choose to
> until it is too late.
> O cinema ? a m?sica da luz.
> Abel Gance
> Pedro Conforti - Colorista - Estudios Mega
> on 16.07.2002 5:24 AM, bobineinc at aol.com at bobineinc at aol.com wrote:
> > For a column on the hourly price for a telecine room and a salary
> for a
> > professional colorist in LA.
> > Since the 80's the price has been pretty stagnant. In average the
> price for
> > STD is $1000 for commercial work and $750 for music video, it use to
> be $500
> > for feature now $1000 HD and $1500 Data) an hour.
> > After tax, 25% off that price go to the highest pay colorist with
> > options (rare), the other colorists are chasing the same sweet deal.
> > Now due to the slow down there has been a lot of under cutting by
> post houses
> > with colorist that work more than 16 hours a day or any time, for
> $550 STD
> > commercials, $350 STD for music videos and features $550 HD and $600
> > Lay down session as low as $200 per hours in some case (plus free B
> with good
> > clients).
> > The market is distorted because no matter how low a client wants to
> pay there
> > is a colorist hungry enough to do the job (usually the Highest pay
> > work).
> > Agencies, Productions and Records company are more aggressive in
> > their favorite Colorist and also the approval of every frames. But
> > general public expectation as gone way down.
> > In the 80's and 90's Colorist market was booming and the last three
> > some of the colorists did well, but none fell the business was
> great. Those
> > who have done well are in a small number and they have branch out as
> owner or
> > partners taking charge of their clients. The kind who insist in
> coloring only
> > and let the rest to there CEO will probably be a dying breed when
> they start
> > to see the disadvantages. It not enough for a colorist to know
> color, it
> > needs to known its clients, and manage the clients service needed
> with help
> > from the upper management.
> > PS: Higher price will help to leverage the client to increase their
> rates and
> > manufacturer to survive. Maybe a colorist group can be form to
> educate each
> > other on good business practice until now everything goes in the
> > jungle.
> > If you don't agree please jump in....
> > Jais /Bobine (pronounce Bo Been)
> > In a message dated 7/15/02 12:19:29 PM, rob at film.calarts.edu writes:
> > << I'm going to be working a lot more on the telecine count table
> > as soon as I can, and appreciate all the input from everyone.
> > One suggestion was made that is pretty interesting:
> > what if we had a column for hourly rates in the different facilities
> > and countries, based on a common currency and exchange rate at a
> > time? Perhaps it would be too difficult to keep up-to-date.
> No marketing or advertising on the tig. (help wanted ads excepted)
> Send such submissions to rob at tig.alegria.com.
> ...and beware any posts to this mailinglist that appear
> to promote products without disclaiming financial interest.
> Thank you Alan Davis for supporting the TIG.
> Copyright policy at http://www.alegria.com/tig3/info.html#copyright
No marketing or advertising on the tig. (help wanted ads excepted)
Send such submissions to rob at tig.alegria.com.
...and beware any posts to this mailinglist that appear
to promote products without disclaiming financial interest.
Thank you Alan Davis for supporting the TIG.
Copyright policy at http://www.alegria.com/tig3/info.html#copyright
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